The "sober" style of Ji Kang's poems shows Ji Kang's pursuit of supernatural realm and lofty personality ideal, the ideal of transcending reality and returning to real life, the transcendental feelings beyond the world, and the lofty and upright personality. Submission, practice and application of metaphysical philosophy.
Satire and criticize reality. This is a review of Ji Kang's Jun Qing, which makes a brief analysis and interpretation of Ji Kang's poetic style in connection with history and culture, Wen Xin Diao Long and Ji Shi itself. Search: the language style and expression of Ji Kang's works.
Ji Kang's monograph on music aesthetics is:
There are four pieces of Qin music composed by Ji Kang, including Changqing, Short Qing, Long Edge and Short Edge, which are collectively called "Ji Four Farmers" by later generations, and Cai Yong's "Cai's Five Farmers" are collectively called "Nine Farmers", which enjoys a high reputation in the history of China music. Emperor Yang Di will play ".
In the Song Dynasty, Yang Zan searched for these four-square music scores among the people, and as a result, he applied for more than ten kinds of them, which shows their wide spread. Xuan Mo and The Wind in the Pine are also his works, and Xuan Mo embodies the thoughts of Lao Zi and Zhuang Zi.
These works can be found in the collections published in the Ming Dynasty, but they are not necessarily original works.
His monograph on music thought, On Music without Sorrow, is the first musical theory work in China that embodies his musical aesthetic thought. It still has high research value. In the article, he discussed music and emotion, creation and performance, performance and musical instruments, appreciation, appreciation and habit.
Through the repeated refutations of Qin Ke and Master Dongye, this paper puts forward the view that there is no sorrow and joy in sound (that is, music is an objective existence, and sorrow and joy is a subjective catharsis), which is a typical expression of the earliest "self-discipline" aesthetics in the history of China music.
Many musical aesthetic problems mentioned in "Sound without Sorrow and Music" are of fundamental significance. Lu Xun once pointed out: "Ji Kang's thesis is better than Ruan Ji's, with novel ideas and often opposite to the old saying."